Ann Gillis Movies

Top-notch police reporter Lorelei Kilbourne (Hillary Brooke) decides to resign her job when her novel is published, and gives Big Town Illustrated Press editor-in-chief Steve Wilson (Philip Reed) her two-weeks' notice. Lorelei is surprised when Steve hires a replacement that day, Susan Peabody (Ann Gillis), a journalism student who is actually the niece of the newspaper's publisher Amos Peabody (Charles Arnt). Steve discovers that Susan has a gambling habit that she developed in college -- he tries to get to know her better by taking her to the Winners' Club, a crooked private gambling club that's the tip of the iceberg of an illegal gambling operation in Big Town, and is pummeled for his trouble, while the girl is seemingly kidnapped. Peabody gives in to the terms of gambling ring leader Chuck LaRue's (Richard Travis), and Susan turns up a few minutes later. But Steve comes up with a plan to undermine LaRue's operation, while Lorelei decides to look into Susan's background and finds lots of unsavory twists. There are more double- and triple-crosses to follow as the planning on both sides unravels amid overlapping and interlocking schemes, as well as a poker game motif that's about as good as you'll ever see in any B-movie of its time. ~ Bruce Eder, All Movie Guide

While perhaps not Abbott & Costello's best film, The Time of Their Lives is certainly their most unusual. Lou Costello plays a Revolutionary War-era tinker, whose prized possession is a letter from George Washington, commending Costello as a loyal patriot. Costello's lady love is Anne Gillis, maidservant to aristocratic Jess Barker. Costello's rival in romance is Barker's butler Bud Abbott, who locks the tubby tinker in a trunk to keep him away from Gillis. Meanwhile, Gillis stumbles onto a plot to betray the Colonial Armies, masterminded by Barker. The girl is kidnaped and spirited away, but not before Barker has appropriated Costello's letter from Washington and hidden it in a mantelpiece clock. All this is witnessed by Barker's fiancee Marjorie Reynolds, who disguises herself as a man, the better to make her way through the lines to warn the Colonial troops of Barker's plot. She frees Costello from his trunk and enlists his aid in locating Washington. Mistaken for traitors, Costello and Reynolds are shot dead. Their bodies are thrown in a well as a colonial officer curses their souls to remain on the grounds of Barker's estate "until the crack of doom," unless some evidence should prove them innocent of treason. A few moments later, Costello and Reynolds materialize as ghosts. They try to escape the grounds, but a supernatural force holds them back. Flash-forward nearly two centuries to 1946: Costello and Reynolds, still confined to the estate, resent the intrusion by Barker's descendants, who plan to renovate the mansion and open it to tourists. The two ghosts decide to haunt the estate, resulting in a series of amusing and well-conceived invisibility gags. Much to their surprise, Costello and Reynolds find none other than Costello's old nemesis Bud Abbott as one of the house guests. No, Abbott isn't a ghost: he's a famed psychiatrist, a descendant of the butler who double-crossed Costello back in 1780. Costello has a high old time playing tricks on the nervous Abbott (a fascinating reversal of the usual Abbott-Costello relationship) before the rest of the house's occupants decide to hold a seance to find out what's annoying the two ghosts. In a genuinely spooky sequence, sinister house servant Gale Sondergaard, possessed by the spirit of Jess Barker, reveals that the ghosts have been falsely accused of treason, and that their salvation lies in locating that letter from Washington. Driven by a feeling of remorse over the sins of his ancestor, Abbott does his best to help the ghosts. Before the plot is resolved, there is time for a standard Abbott-and-Costello chase scene, with the invisible Costello driving a car wildly around the estate, with a terrified Abbott cringing in the back seat. More than a little inspired by The Canterville Ghost, The Time of Their Lives was the second of two Universal films that attempted to recast Abbott and Costello as individual characters rather than smart guy-dumb guy team members. While the film is an unmitigated delight when seen today, it failed at the box office in 1946, compelling Bud and Lou to return to their standard formula in their next film, Buck Privates Come Home. ~ Hal Erickson, All Movie Guide

This musical is a remake of a 1933 film. Like the first, it is set on campus and chronicles the romantic travails of the school rowing champion who has recently come back from a military stint abroad. A young coed is mighty pleased to see him, but he keeps avoiding her. A subplot concerns a group of crooks who are trying to fix a boat race. Songs include: "Sweetheart of Sigma Chi" (F. Dudleigh Vernon, Byron D. Stokes), "Penthouse Serenade" (Will Jason, Val Burton, sung by Phil Regan), "It's Not I'm Such a Wolf, It's Just You're Such a Lamb" (Merle Maddern, Lanier Darwin, sung by Phil Brito), "And Then It's Heaven" (Edward Seiler, Sol Marcus, Al Kaufman, sung by Brito), "Cement Mixer" (Slim Gaillard, Lee Ricks, sung by Gaillard), "Yeproc-Heresi" (Gaillard, sung by Gaillard), "Bach Meets Carle" (a Bach pastiche by Frankie Carle), and "Five Minutes More" (Jule Styne, Sammy Cahn, sung by Brito). ~ Sandra Brennan, All Movie Guide

David O. Selznick's first production since 1940's Rebecca, Since You Went Away, based on Margaret Buell Wilder's bestselling novel, is a long but rewarding paean to the World War 2 "home front". Claudette Colbert plays the wife of a businessman who, though well past draft age, volunteered to serve his country as an officer (though the husband is never seen, he is "played"-via a photograph-by Neil Hamilton). Fighting back her own fears and anxieties, Colbert does her best to maintain a normal, stable household for the sake of her growing daughters Jennifer Jones and Shirley Temple. She is offered moral support by cynical-but-kindly boarder Monty Woolley, by maid Hattie McDaniel (who willing foregoes her salary "for the duration") and by Navy man and friend-of-the-family Joseph Cotten, whose relationship with Claudette remains staunchly platonic. The harsh realities of war hit home several times throughout the film, first when it seems as though Colbert's husband is missing in action, and later when Jennifer's young boyfriend, GI Robert Walker, is killed in combat. From the vantage point of the 1990s, it is easy to see why Since You Went Away scored with its wartime audiences. Though the leading characters are slightly more financially secure than most of the moviegoers of 1944, the various vignettes presented throughout-complaints about rationing and priorities, shoulder-to-shoulder sacrifices, the weekly escape to the local movie house, tender partings, joyous reunions, the returning wounded, the dreaded wire from the war department-all had the ring of truth and topicality. Even today, the film's emotional highlights, particularly the much-imitated farewell scene at the railroad station, are sufficient to bring tears to the eyes of the most jaded viewer. Enhancing the film's heartstring tugging tenfold is Max Steiner's Oscar-winning musical score. If you can remain objective while watching Since You Went Away (it isn't easy), see if you can spot Ruth Roman, Guy Madison and John Derek, making their screen debuts in microscopic roles ~ Hal Erickson, All Movie Guide

For their first film in a year, Bud Abbott and Lou Costello played it safe with a medley of old burlesque routines and slapstick setpieces -- and never mind a coherent plot. The boys play Eddie and Albert, a pair of plumbers hired to fix the pipes of a fancy society mansion. While a masquerade party takes place on the first floor, our heroes wreak havoc in the bathroom on the second floor. The angry owners (Thurston Hall, Netta Packer) shoot off a letter of complaint to the plumbers which gets mixed up with an invitation for a fancy weekend party. Thus it is that Eddie and Albert, accompanied by their female cab-driving pal Elsie (Marion Hutton), show up dressed to the nines at a posh country estate. While the boys get mixed up in further comic complications, Elsie carries on a romance with wealthy and handsome Peter (Kirby Grant). Things come to a head when a valuable painting is stolen, prompting Eddie and Albert to chase after the thieves by commandeering a fire engine! Released in most areas simply as In Society, this slapped-together comedy proved beyond all doubt that Abbott and Costello's appeal had not slipped during their screen absence. Highlights include a variation on the burlesque chestnut "Floogel Street" (here renamed "The Susquehanna Hat Company"), a wild and crazy fox hunt, and the climactic fire-engine pursuit, which was lifted virtually in toto from W.C. Fields' Never Give a Sucker an Even Break (1941). ~ Hal Erickson, All Movie Guide

Though it bears the same title as an earlier Gene Autry western, Roy Rogers' The Man from Music Mountain isn't a remake. Rogers is appropriately cast as a cowboy who's hit it big as a radio singing star. Returning to his hometown for a special remote broadcast, Roy finds himself in the middle of a deadly feud. Nothing will be settled so long as cattleman Victor Marsh (Paul Kelly) resorts to villainy to achieve his goals. Fortunately, the newly deputized Roy figures out a way to straighten out the mess without undue bloodshed. Rogers' leading lady this time out is the multitalented Ruth Terry, who was in just about every other Republic B-picture of the mid-1940s. ~ Hal Erickson, All Movie Guide

The East Side Kids, featuring Leo Gorcey, Gabriel Dell and Huntz Hall, star in this spirited blend of action and comedy. The kids come to the rescue of a hysterical young girl who is discovered in the apartment with a murdered man. Convinced she's not the killer, the guys hide her as they comb the neighborhood for the real murderer. However, one of the kids made the mistake of picking up the baseball bat that appears to be the murder weapon, and now the fingerprints could point the police investigation at them. 'Neath The Brooklyn Bridge also features Dave O'Brien (best known for his eccentric performance in Reefer Madness) and Noah Beery Jr.. ~ Mark Deming, All Movie Guide

Nice Girl? answers its own question by casting the relentlessy nice Deanna Durbin in the title role. In her first truly adult role, Durbin plays Jane Dana, the blossoming daughter of high school principal Oliver Dana (Robert Benchley). Jane is being ardently courted by longtime boyfriend Don Webb (Robert Stack) and by the more worldly Richard Calvert (Franchot Tone). A series of misunderstandings leads to the demure Jane earning an unsavory (and wholly unjustified) "reputation", but it all turns out okay by fadeout time. It is not only unfair to reveal the ending, but also quite difficult, since the current video version of Nice Girl includes the film's "alternate" ending, which is rather different than the denoument in the officially released version. Ms. Durbin's songs on this occasion range from such standards as "Old Folks at Home" to four newly-minted tunes. ~ Hal Erickson, All Movie Guide

Former child star Jackie Cooper headlines this sentimental behind-the-scenes comedy drama. He plays an ex-child star who now jerks sodas for a living in Hollywood. He gets back into the movie business when he overhears a conversation between producers discussing their newest prodigy. Cooper butts in and suggests the producers remake Skippy (a real-life 1931 film that made young Cooper a star). The bigwigs like the idea and then hire Cooper to become the boy's acting coach. Once back on the backlot, Cooper finds both trouble and romance while helping the young boy adjust to life as a movie star. ~ Sandra Brennan, All Movie Guide

Little Men, Louisa May Alcott's followup to her successful novel Little Women, has never truly adapted well to the screen, though this 1940 version is better than most. Kay Francis stars as the all-grown-up Jo March, now in charge of a private school for young boys. Her most contentious charge is rebellious Dan (Jimmy Conlin), who finally learns the rudiments of gentlemanly behavior from the firm-but-gentle Jo. Despite its huge and talented cast, the film is handily (and appropriately) stolen by Jack Oakie as an affable con artist named Willie the Thief. Also on hand is the original Elsie the Cow (but where's Elmer and his glue?) A loser at the box office, Little Men is currently in wider circulation than ever before thanks to its Public Domain status (also available in the P.D. market is the 1933 version of Little Men, produced by Monogram). ~ Hal Erickson, All Movie Guide

This second of three movie versions of P.C. Wren's adventure novel Beau Geste is a virtual scene-for-scene remake of the 1927 silent version. We open on the now-famous scenes of a remote, burning desert fort, manned by the dead Foreign Legionnaires, then flash back to the early lives of the Geste brothers. As children, the Gestes swear eternal loyalty to one another and to their family. One of the boys, young Beau (played as a youth by Donald O'Connor), witnesses his beloved aunt (Heather Thatcher) apparently stealing a valuable family jewel in order to finance the Geste home; Beau chooses to remain silent rather than disgrace his aunt. Years later, the grown Beau (Gary Cooper) again protects his aunt by confessing to the theft and running off to join the Foreign Legion. He is joined in uniform by faithful brothers John (Ray Milland) and Digby (Robert Preston), who in turn are pursued by a slimy thief (J. Carroll Naish). The crook is in cahoots with sadistic Legion Sgt. Markov (Brian Donlevy, in one of the most hateful portrayals ever captured on celluloid), who is later put in charge of Fort Zinderneuf, where Beau and John are stationed. When the Arabs attack, Markov proves himself a valiant soldier; it is he who hits upon the idea of convincing the Arabs that the fort is still fully manned by propping up the corpses of the casualties at the guard posts. Beau is seriously wounded, and while the greedy Markov searches for the jewel supposedly hidden on Beau's person, he is held at bay by loyal John. The suddenly enervated Beau kills Markov, then dies himself--but not before entrusting two notes to John, one of which requests that John give Beau the "Viking funeral" he'd always wanted (this is why the fort is in flames at the beginning of the film). After the battle, Digby Geste, a bugler with the relief troops, comes upon Beau's dead body, and appropriates the notes. As it turns out, John Geste is the only one who survives to return to England. He gives his aunt Beau's letter, which explains why Beau had confessed and run off--"a 'beau geste', indeed" comments his tearful aunt. No one missed nominal leading lady Susan Hayward in this essentially all-male entertainment. For years available only in muddily processed or truncated versions, Beau Geste was restored to its pristine glory by the American Film Institute in the late 1980s. ~ Hal Erickson, All Movie Guide

The 1938 version of Adventures of Tom Sawyer appears to be producer David O. Selznick's dry run for Gone with the Wind, what with its similarities in period, costumes, color scheme and production design (both films shared the services of the great Hollywood art director William Cameron Menzies). Selected from hundreds of applicants (a precursor to Selznick's upcoming search for Wind's Scarlet O'Hara), Tommy Kelly is visually perfect as Mark Twain's Tom Sawyer though his acting varies from scene to scene. Better cast is Jackie Moran as the laconic, pipe-smoking Huck Finn (Moran would show up in Wind as Dr. Meade's son). Never forcing its pace, the film manages to include most of Twain's classic sequences, including the fence-whitewashing episode, Tom's rescue of Becky Thatcher (Anne Gillis) from the wrath of their schoolmaster (Olin Howlin), Tom and Huck's "death and resurrection" after the boys briefly skipped town for an idyll on a remote island, the murder trial of town drunk Muff Potter (Walter Brennan) and ultimately unmasking of the vicious Injun Joe (Victor Jory) as the real killer, and of course the chilling climax in the cave, wherein Tom protects Becky from the fugitive Injun Joe. Originally released at 93 minutes, Adventures of Tom Sawyer was trimmed to 77 minutes for a 1959 reissue; it has since been restored to its full length on videotape. In 1960, Tom Sawyer was syndicated to television by Selznick, with accompanying commentary by the film's now-grown-up "Becky Thatcher", Anne Gillis. ~ Hal Erickson, All Movie Guide